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Old 01-31-2015, 07:46 AM   #9
Alyssa
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Join Date: Nov 2013
Location: Aussieland
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Quote:
Panel 3: Michael is holding the suit jacket folded neatly under his right arm and is now undoing his belt with his other unused hand. What we can see of Michael is in the background, the focus of the panel is the face of the creepy guy, now his face is turned to his right looking away from Michael, (There’s no space for this shot. He’s leant against the wall so the camera is going to be inside it.) almost as if the last statement slapped him, every crease in the creepy guys face is apparent. His glasses shine in the moonlight. Michael doesn’t look at the other man, he’s insignificant, Michael is just here to do a job. (What does he do then? What’s his expression?) (This panel cannot be drawn. Plotz-gal! Why not?)
Okay, I'm breaking this down to see if I catch what you're talking about.

Quote:
What we can see of Michael is in the background, the focus of the panel is the face of the creepy guy,
My initial thought is that if Michael is in the background, we shouldn't be able to see the face of the creepy guy. They're facing each other, meaning that if someone is in the background, facing the reader, then we're looking at the back of the other individual.

Quote:
now his face is turned to his right looking away from Michael,
Okay, so if his face is SUPER turned to the right, then we might be able to make out his face, but then Liam's point comes to the fore. If creepy guy is leaning up against a wall, and we have to be pulled back enough to see him from behind, we're going to be inside the wall.

Quote:
almost as if the last statement slapped him, every crease in the creepy guys face is apparent.
Probably going to be hard to pull off, given that the room is lit only by a bit of moonlight. Also, the first part of this quote is prose-y, so I'm kinda vague on how Alex is wanting this drawn.

Quote:
His glasses shine in the moonlight.
Creepy guy is sitting under the window, with his back to the wall. If his face is turned hard to the right, then his face is even closer to the wall, likely out of reach of any beams of moonlight. Or am I wrong?

Quote:
Michael doesn’t look at the other man, he’s insignificant, Michael is just here to do a job.
Besides the fact Michael isn't looking at creepy dude, this is prose. I dunno how Alex wants the artist to show someone else's insignificance in Michael's face, or how to show that he's just here to do a job.

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